Sets, Lighting, and Costumes: Parīzes Dievmātes Katedrāle

There is not much in the way of sets in  Parīzes Dievmātes Katedrāle. The people involved do well with minimal sets. It's a testament to the quality of the blocking and staging that I hardly notice repeated locations.

The stage for the mystery play also serves as a whipping post for Quasimodo, an old alley, and a bell tower. Instead of large sets which, while nice, are also costly, this version is more humble. A rose window and some lights are all that is needed to convey the idea of a cathedral interior. I dare to say that Parīzes Dievmātes Katedrāle looks better than the 1977 version. While that's not saying much, it goes to show how limitations can help and when they can hinder. In the '77 film, the minimal sets were distracting. Here, they are engrossing.

The lighting around Gudule makes her stand out as abnormal

Lighting is a very important in theater, and it is used to great effect here. An example of how lighting can set the mood is when it shows the difference between characters. A good example is during Esmeralda's introduction. While she dances and delights the public, the lighting is warm and inviting, but as soon as Gudule enters and begins spewing hatred, the lighting changes. The light around Gudule is an unnatural and sickly turquoise, making her stand out from the warmly light Esmeralda.

Esmeralda dragged before the Hellish mob

The lighting sets the mood in a visually dynamic way. In a scene with high drama, like the moments awaiting Esmeralda's execution, the light on the mob is blood red, while the innocent Esmeralda is the only character under traditional lighting.

It also is applied very well with Quasimodo. The areas around him are often obscured in shadow, making the misshapen hunchback catch your eye. The light around him, unlike the harsh blackness, is cool, and melancholy. Scenes with Frollo are also very dark, but the little light surrounding him is white and threatening. 

They didn't have to do these things. They could have easily stuck to flat stage lighting, but they didn't. They use it to help tell the story, which is never a bad thing.

The costumes, unlike the sets, are highly detailed. Every character is visually distinct, which is important for any form of stage entertainment. Every person in the audience should be able to tell what is happening no matter where they are seated. The makeup is also well done. Frollo and Gudule have age makeup on, and look like they have gotten older since the opening scenes. Quasimodo's makeup, while not as grotesque as the novel, is made up by actor's performance. The ways he contorts his body make him look the part.

On the whole, the production values are really impressive.

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